ON FREE PUBLIC VIEW 
AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 


i 


BEGINNING THURSDAY, MARCH 13, 1913 


AND CONTINUING UNTIL THE MORNING OF THE DATE 
OF SALE, INCLUSIVE 


_ THE PRIVATE COLLECTION 


OF 


MR. GEORGE G. BENJAMIN 


UNRESTRICTED PUBLIC SALE 


IN THE 


GRAND BALLROOM OF THE PLAZA 


FIFTH AVENUE, 58th TO 59th STREETS 


ON TUESDAY EVENING, MARCH 18, 1913 
BEGINNING AT 8.15 O’CLOCK 


os ¥ - 
MI es eR RR ae Se 


ILLUSTRATED CATALOGUE 


OIL PAINTINGS 


AMERICAN AND Paeicn ARTISTS 


THE PRIVATE COLLECTION 
OF 


MR. GEORGE G. BENJAMIN 


| PRESIDENT OF 
THE AMERICAN ART .ANNUAL, INCORPORATED 


TO BE SOLD 
AT UNRESTRICTED PUBLIC SALE 


IN THE GRAND BALLROOM — 


OF 


THE PLAZA 
ON THE DATE HEREIN STATED 


THE SALE WILL BE CONDUCTED BY 
MR. THOMAS E. KIRBY, OF 
THE AMERICAN ART ASSOCIATION, MANAGERS 
NEW YORK 
1913 


, CONDITIONS OF SALE 


1. The highest Bidder to be the Buyer, and if any dispute 
arise between two or more Bidders, the Lot so in dispute shall be 
immediately put up again and re-sold. 


2. The Auctioneer reserves the right to reject any bid which 
is merely a nominal or fractional advance, and therefore, in his 
judgment, likely to affect the Sale injuriously. 


3. The Purchasers to give their names and addresses, and to 
pay down a cash deposit, or the whole of the Purchase-money, if 
required, in default of which the Lot or Lots so purchased to be 
immediately put up again and re-sold. 


4. The Lots to be taken away at the Buyer’s Expense and Risk 
within twenty-four hours from the conclusion of the Sale, unless 
otherwise specified by the Auctioneer or Managers previous to or 
‘at the time of Sale, and the remainder of the Purchase-money 
to be absolutely paid, or otherwise settled for to the satisfaction 
of the Auctioneer, on or before delivery; in default of which the 
undersigned will not hold themselves responsible if the Lots be 
lost, stolen, damaged, or destroyed, but they will be left at the 
sole risk of the purchaser. 

5. While the undersigned will not hold themselves responsible 
for the correctness of the description, genuineness, or authen- 
ticity of, or any fault or defect in, any Lot, and make no War- 
ranty whatever, they will, upon receiving previous to date of 
Sale trustworthy expert opinion in writing that any Painting 
or other Work of Art is not what it is represented to be, use 
every effort on their part to furnish proof to the contrary; fail- 
ing in which, the object or objects in question will be sold sub- 
ject to the declaration of the aforesaid expert, he being liable 
to the Owner or Owners thereof for damage or injury occasioned 
thereby. 

6. To prevent inaccuracy in delivery, and inconvenience in the 
settlement of the Purchases, no Lot can, on any account, be re- 
moved during the Sale. 

7. Upon failure to comply with the above conditions, the money 
deposited in part payment shall be forfeited; all Lots uncleared 
within one day from conclusion of Sale (unless otherwise specified 
as above) shall be re-sold by public or private sale, without further 
notice, and the deficiency (if any) attending such re-sale shall be 
made good by the defaulter at this Sale, together with all charges 
attending the same. This Condition is without prejudice to the 
right of the Auctioneer to enforce the contract made at this Sale, 
without such re-sale, if he thinks fit. 

8. The Undersigned are in no manner connected with the 
business of the cartage or packing and shipping of purchases, 
and although they will afford to purchasers every facility for em- 
ploying careful carriers and packers, they will not hold themselves 
responsible for the acts and charges of the parties engaged for 
such services. 


Tue AMERICAN ART ASSOCIATION, Manacens. 
THOMAS E. KIRBY, Avcrionerr. 


he 


a way 


re ‘ 


EVENING SALE 


TUESDAY, MARCH 18, 1913 


IN THE 


GRAND BALLROOM OF THE PLAZA 


Firth AveEeNvuE, 58TH To 59TH STREETS 


BEGINNING AT 8.15 o’CLOCK 


No. 1 


WILLIAM A. BOUGUEREAU 


FRENCH 


ASLEEP 


(Drawing) 


Br. Height, 6 inches; length, 9 inches (sight). /) 
Ve : ho D- Aken 
Two bare-limbed children are asleep upon a bed, the 
one whose back is toward us having its right arm ./ 
laid over the breast of the other. A draped curtain 
and a window through which the light enters form 
the background. This little drawing shows the artist’s 
mastery of line; the delicacy of handling, the round- 
ness and baby quality of the flesh, are as success- 
fully conveyed as in his large oil paintings. 


Signed at the lower left: William Bouguereau. 
From the collection of F. O. Matthiessen, New York, 1902. 


Wiritiam AporpHe BovGuvereAu was born at La _ Rochelle, 
France, November 30, 1825, and died there during the night of 
August 19-20, 1905. The pupil of Picot, and from 1843 of the 
Ecole des Beaux-Arts, he won the Grand Prix de Rome in 1850 
and among his “envoye” was “Le Triomphe des Martyrs,” now in 
the Luxembourg. He was intrusted with important decorative 
works in public buildings. He received every honor from his 
first Salon medal in 1855 to the order of the Grand Officer of 
the Legion of Honor in 1903, 


No. 2 


MARIANO FORTUNY 


SPANISH 


STUDY 


(Pencil drawing on brownish-gray paper touched up with Chinese 
white) 


Height, 11 inches; widths 9 inches. 


oe 
Tue seated figure of an elderly woman posed in Greek 
drapery; her right arm is extended and rests on a 
pedestal. 7 

Signed at lower left with Fortuny Estate red seal. 


Marrano Fortuny was born at Rens in Catalonia, Spain, in 
1838. He was a pupil of Palan, of Claudio Lorenzales, and of the 
Barcelona Academy, where he won the Prix de Rome in 1856. 
After his three years’ stay in Rome, during which he studied 
Raphael and made sketches of Roman life, he was sent to Morocco 
by the government to paint the incidents of General Prim’s cam- 
paign. In 1866 he went to Paris and was introduced to Zamacois 
and Goupil, and the following year he visited Madrid and married 
the daughter of Madrazo, director of the Madrid Museum. With 
the exception of a year in Paris (1869-1870) and the three years 
in Spain, he spent the rest of his life in Rome, where he died in 
1874, 


y, trade “Lhe thenaning 


o~ 


No. 8 


ee GEORGE H. BOUGHTON, R.A., N.A. 


BRITISH-A MERICAN 


WOMAN IN GRAY 
(Oil on gray paper) 


ee at Height, 19% inches; width, 131, inches. ra 


y Yd nites 
ee a Wid ; 
AD eg WE aA 


Tue figure of a young woman walking uphill toward 
the left; she wears a black hat and black dress with 
a long gray cape and gray fur muff. 


Initialed at lower left: G. H. B. 


Grorce Henry Boueuron was born near Norwich, England, in 
1834, and was brought to the United States when a child. He 
settled in London in 1861 and spent ail his working life in that 
city, where he died in 1905. His subjects were chiefly adventures 
of the Puritans and the anecdotes in “Knickerbocker’s History 
of New York.” He is represented in the Metropolitan Museum 
of Art and other public and private galleries. 


No. 4 


NICOLAAS BASTERT 


DutcH 


A WINTER EVENING 
(Water Color) 


Height, 1614 inches; length, 24 inches sight). 


7 


( jes SNOW-COVERED road with low coteeae to right and 
left; a two-wheeled cart is going away from the spec- 
tator and in the distance rises a church spire. The 

sky is pale yellow with cold gray clouds. 


Signed at lower left: N. Bastert. 
From the Boussod, Valadon Sale, New York, 1902. LG Koo- FF: 


Nicoiaas Bastert was born at Nieuwensluis, near Amsterdam, 
January 7, 1854. He studied at the Academy of Amsterdam and 
at Antwerp and traveled in France and Italy. He showed four 
paintings at the Chicago Exposition in 1903 and has exhibited in 
Paris, Munich, Amsterdam and The Hague, receiving a medal 
in each city. His home is in Amsterdam. 


No. 5 


GEORGE MORLAND 


BritisH 


SHEPHERDS AND SHEEP 
(On wood) 
e oe Height, 41/4, inches; length, aay seg oo 


as TE SEs Te 
A rarer oak tree at the left spreads iG Eliade across we 


fo} 


the top of the picture; on the bank beneath it re- UY 
clines a shepherd ‘in white smock-frock with a crook 
in his hand and his dog at his side; beyond, a man 
in a red coat is seated on the turf, leaning forward. 
On the right are two sheep; two others appear in 
the distance, which is vaguely blue. The little study 


is rich in color. 
Initialed at lower right: G. M. 


From the collection of J. D. Ichenhaiiser, New York, 1903. 


Grorce Morianp, born in London in 1763, was the son of Henry 
Robert and grandson of George Henry Morland, both of whom 
were painters. He was a pupil of his father, who bound him to 
an apprenticeship and kept him closely applied copying Dutch 
pictures for the dealers. When he gained his independence he set 
up for himself, but fell a prey to an unscrupulous dealer. Escap- 
ing from him, he painted miniatures and thrice visited France. 
Returning to England, he married the sister of William Ward, 
who shortly afterward married Morland’s sister. As long as they 
all lived together Morland steadied down to regular work; but 
when the two families separated he once more found himself in 
trouble, and the rest of his life was a medley of hard work, 
debauches and debt. The popularity of his work was extraor- 
dinary and led to wholesale fraudulence on the part of dealers. 
He died in a sponging-house, October 29, 1804. 


No. 6 


HENRY BACON | 


AMERICAN 


THE MESSENGER 
(On cardboard) 


ee, fy ut Height, 91, inches; width, 742-4 a 


Tue half-length figure of an old man with a “Hert 
dated high black hat held before him in an apologetic 
way; a letter is in his left hand. <A strong character 
sketch, broadly painted. 


Signed at upper left: Henry Bacon. 
From the collection of Henry Mosler, New York, 1900. 


Henry Bacon was born at Haverhill, Mass., in 1839. With his 
father he moved to Providence, and later to Philadelphia. In 
1864 he visited Paris, where he became a pupil of the Ecole des 
Beaux-Arts and of Cabanel; in 1866-67 he studied at Ecouen 
under Edouard Frére, the Orientalist. He made his headquarters 
in London and traveled extensively in Normandy and in Egypt. 
He died at Cairo, March 13, 1912. A number of his paintings, 
chiefly of Egypt, were shown at the Montross Gallery early this 
season and are now being exhibited in other cities. 


No. 7 
R. A. BLAKELOCK 


AMERICAN 


INDIAN BURIAL PLACE, COLORADO 
‘ (On wood) 


/? g° i Mas Height, 4% inches; length, 7 i Oh é F., ble mie 


Tue foreground is a wast lonely plain; ae the right is 
a rude platform, raised on poles, on which lies a 
corpse; two Indians are guarding it. A group of 
red-men is dimly seen half way across the level country 
which extends unbroken to a distant range of snow- 
capped mountains that rises against the sunset sky. 
A small picture, but big in feeling. 


; Signed at lower left: R. A. Blakelock. 
From the collection of Frederick 8S. Gibbs, New York, 1904. 


Ratew Arpert BiakELocK was born in New York, October 15, 
1847. He was the son of a physician and a medical career was 
intended for him, but love of music and painting, and a tour 
through the West with study of the Indians, decided him to 

_ become a painter. His works are distinguished by rich and 
subtle harmonies of color and poignant, poetic sentiment. He 
is represented in the Metropolitan Museum of Art by two very 
important examples, and some other museums possess two or 
three of his works. Although still living he has long been 
incapacitated for work. 


No. 8 


LOUIS C. TIFFANY, N.A.- 


AMERICAN 


THE WATER GATE AT MALTA 


(On canvas) 


Height, 93/, inches; length, 1234 inches. 


RP ei 3 


A wurre plastered wall, in brilliant su 


ht, rises from 
the water’s edge; in the center is a closed arched 
doorway. At the foot of a short flight of steps are 
several rowboats with figures of men and women in 
brilliant Oriental costumes. The rippling iridescent 
reflections on the water in the foreground and rich, 
brilliant color throughout this little picture have the | 
same jewel-like quality which makes the charm of Mr, 


Tiffany’s Favrile glass. 
Signed at lower right: Louis C. Tiffany. 


From the estate of Eliza M. Curtis, New York, 1906. — 


Louis Comrort Tirrany was born in New York City, February 
18, 1848. He was a pupil of George Inness, but his work has been 
more strongly influenced by his other masters—Samuel Colman 
in New York and Leon Bailey in Paris. Like LaFarge, his love 
of color has led him to devote his energies to stained glass and 
the other decorative arts, so that his paintings are now very scarce. 
The Oriental pageant recently given in Mr. Tiffany’s New York 
studio was characteristic of his taste for rich color effects. He 
was elected a member of the National Academy of Design in 1880 
and is a member of many art societies, including the Société 
Nationale des Beaux-Arts of Paris and the Imperial Society of 
Fine Arts of Japan. He was awarded a gold medal for applied 
arts at the Paris Exposition of 1900 and made Chevalier of the 
Legion of Honor the same year; a gold medal was awarded to 
him at the Dresden Exposition of 1901 and a special Diploma 
of Honor at the Louisiana Purchase Exposition at St. Louis 
in 1904. 


oe 


No. 9 
R. PALMER 
LANDSCAPE 


(On millboard) 3 
Re ee Height, 6 inches; length, 8 inches. E 
Bi? . ‘ LU font Pred 
A ciump of trees at the left silhouetted against a 
sunset sky; the field in the foreground is a rich, 
luscious green. This broadly painted little picture 
_ gives the feeling of the rest and quiet of the twilight 


hour. 


_) Signed at lower left: R. Patmer. 


No. 10 
EDGAR A. SCHMIDT 


HEAD OF A MAN 
(On millboard) 


3 ~ §o Height, 51/, inches; width, 454 inches. 
a 


ae 1 he SOE 


A MIDDLE-AGED man with thick brown hair and full 
brown beard. The head is strongly modeled and the 


gray coat and soft white collar blend agreeably with 
the gray background. 


Signed at lower left: Edgar A. Schmidt, 1874. 
From the collection of Dr. Joseph Wiener, New York, 1905. 


No. 11 


JULES JACQUES VEYRASSAT 


FRENCH 


THE CATHEDRAL — 
(On wood) 

( y a Height, 5%, inches; width, 4 inches, 
A view of a French village with the Ane 
from the choir and its square tower at the far end, 
capped by a weather vane and cock, silhouetted against 
a glowing evening sky. Along the street at the 
right of the church, people are passing. In the fore- 
ground is a grass plot, where two women are seated 
and two children are playing. The peaceful twilight 
hour is well expressed. | 


Signed at lower left: J. Veyrassat. 


From the collection of Samuel Colman, New York, 1903. 


Jures Jacques VeyRassaT was born at Paris in 1828 and died 
there in 1893. His father was a jeweler, and wishing his son to 
follow the same occupation, the boy was placed at a trade training 
school. His success in drawing and modeling determined him 
to follow art. In order to support himself, he made copies of 
works in the Louvre and also some etchings for publishers. As 
soon as he could afford it, he went to Ecouen, where he became 
a pupil of Edouard Frére. Veyrassat was a painter of pictures 
of country-life, pure and simple. Some of the best known are 
“The Stone Quarry,” “The Well,” and the “Bridge at Samois.” 
During his latter years he lived at Samois, near the forest of 
Fontainebleau. He received medals for etching in 1866 and 
1869, and for painting in 1872. 


No. 12 


RAIMUNDO DE MADRAZO 


SPANISH 


A GUITAR PLAYER 
(On wood) 


Height, 8 inches; width, 434, inches 
lea : | ie J nthe oe 
A MAN in a typical Spanish costume of blue and 

black and a yellow cloak which falls over his lap is 

seated on a chair with his left leg drawn back. His 

guitar, decked with red ribbons, is held upright on 

his knee with the left hand resting on the strings. He 

is looking toward the left with his face in profile. 


Signed at upper left: R. Madrazo. 


From the collection of George I. Seney, New York, 1885. 
From the collection of David C. Lyall, New York, 1903. 


Rarmunpo pE Maprazo was born at Rome, July 24, 1841. His 
father and his grandfather before him were artists, his brother 
is an artist, and Fortuny was his brother-in-law. He studied first 
with his father, who was at the head of the Madrid Academy; 
then went to Paris and entered the Ecole des Beaux-Arts 
under Cogniet; and later studied under Winterhalter. His first 
great success was made at Paris at the Exposition in 1878, where 
he received a first-class medal and was made a Chevalier of the 
Legion of Honor. At tne Exposition of 1889 he received a medal 
and was made Officer of the Legion of Honor. 


No. 13 


OSCAR MILLER 


AMERICAN 


NUDE 


(On canvas) 


6 2 se Height, 10 inches; width, 8 in 


A nupbe female figure seated on a white sheet at the 
edge of a lake. A large tree is just back of her — 
and the hillside beyond is in bright sunlight. The 
figure is extremely well painted, the sunlight striking 
her back, while the face, seen in profile, and gris auburn 


hair are in shadow. : : 
Signed at lower apie, ee Miller. 


Oscan MILER was born in New York in 1867. He studied with 
Constant and Laurens in Paris, where he is now living. The 


accumulation of many years of work was lost in a recent fire in 
this Paris studio. 


No. 14 


CHARLES WARREN EATON 


AMERICAN 


A COUNTRY ROAD 


(On canvas) 


{ «© — Height, 12 inches; width, 8 inches. 
4 | GO af Ar 


A roap between green fields with a low wagon being 
drawn toward a barn in the middle distance. There 
are trees in the distance and two bare trunks rise in 
the immediate foreground at the right. 


Signed at lower left: Chas. Warren Eaton. 


CuHartes WakreN Eaton was born at Albany, N. Y., February 
92, 1857. He studied at the National Academy of Design and 
at the Art Students’ League in New York. He has been par- 
ticularly successful with his pictures of pine forests. He is a 
member of the New York Water Color Club. Numerous prizes 
have been awarded to him, including the Inness gold medal at 
the National Academy of Design in 1904 and a silver medal at 
the St. Louis Exposition the same year. 


ORL L AN __ 


No. 15 


J. FRANCIS MURPHY, N.A. 


AMERICAN 


AN AUTUMN SUNSET — 


(On canvas) — 


— ne Height, 8 inches; length, 10 pty 


In the foreground at the left a small pool shimmers in : 


the evening light; in the center a meadow, broken 


here and there by rocks and tufts of dry herbage, 


sweeps away around the corner of the wood at the 
right, where tall trees are sparsely covered with 


autumn foliage. In the distance the ground rises to 


a range of low hills. The golden light of the sky 
is focused near the horizon in the middle of the pic- 
ture and the warm glow of the setting sun further 
enriches the autumn tints of the trees and grass. 


Signed at lower right: J. Francis Murphy, 1901. Mono- 


gram on the back: J. F. M. 
From the collection of Frederick S. Gibbs, New York, 1904. 


Joun Francis Murpuy was born at Oswego, N. Y., December 
11, 1853, and lives in New York City. He is self-taught, has 
traveled and seen much but has retained an individual point of 
view. He paints familiar bits of American scenery, truthful in 
color, atmospheric and full of quiet sentiment. He delights in the 
yellows of autumn. Mr. Murphy was elected an Associate of the 
National Academy of Design in 1885 and was made a full 
Academician two years later. His first award was in 1885, when 
he received the second Hallgarten prize at the National Academy 
of Design; he has since received numerous awards. He is repre- 
sented in the Metropolitan Museum in New York, the Corcoran 
Gallery in Washington and other public and private collections. 


ahi 
a 
=e 


Bivins 


No. 16 


HOMER D. MARTIN, N.A. 


AMERICAN 


ROADSIDE NEAR HONFLEUR 
(On wood) 


3 ae ve Height, 7%, inches; length, 934 inches. | 


A view along a highway in Normandy in the flat 
country near the Seine. A broad road winds past a 
clump of birches on the left, around a | great mass 
of trees at the right, and leads away toward a low 
wood beyond level pastures. The distance is in sun- 
light; a thin haze hangs over the gray sky. This 

. painting is a study for Martin’s “Normandy Trees,” 
one of his masterpieces which is in the Wilstach Col- 
lection in Philadelphia, and illustrated in Mrs. Martin’s 
“Reminiscence,” p. 6. In the large painting he has 
substituted a pool for the roadway and thinned out 
_the trees at the.right so as to let the sky show, but _ 
the general composition is identical. This was one of 
the pictures which Mrs. Martin says “germinated” 
during their stay in France from 1881 to 1886, al- 
though painted in New York in 1893. 


Signed at lower left: H. D. Martin. 


From the collection of Edward Runge, New York, 1902. 
From the collection of Frederick S. Gibbs, New York, 1904. 


Homer Martin was born in Albany, N. Y., October 28, 1836, 
and studied painting in that city with William Hart, N.A. In 


1874 he was elected a member of the National Academy of Design, 


and in 1877 was one of the founders of the Society of American 
Artists. His early work followed the conventional lines of the 
Hudson River School, but he was one of the first to break away 
from their mannerisms and artificiality, becoming, in a sense, the 
first American impressionist in so far as he sought to paint his 
impressions synthetically, and at the time he was looked upon 


_ as revolutionary. Martin’s landscapes are generally sober and 


subdued in color. They are full of genuine sentiment and impress 
the spectator by the charm of their poetic naturalism. His noted 
works, such as “Harp of the Winds” and “Sand Dunes, Lake 
Ontario” at the Metropolitan Museum of Art, New York, “Old 
Church in Normandy,” “Normandy ‘Trees” and “Adirondack 
Scenery” are among the most individual productions of American 
art. His work as a whole occupies a place by itself owing to its 
intrinsic beauty and admirable personal quality. He died at St. 
Paul, Minn., February 12, 1897. 


No. 17 
GEORGE INNESS, N.A. 


AMERICAN 


NEAR MEDFIELD 


Height, 7 inches; length, 101, inches. - 


A’roxtune plain with the white houses of a village 
stretching across the middle distance, seen through 
the trunks of trees that are in the immediate fore- 
ground at the right; the warm green of fields and 
foliage blend with the rich golden tone of the sunset | 
sky. A small characteristic picture of a favorite lo- 
cality, one which furnished the motif for several large | 


pictures. It was painted in the early sixties. 


Signed at lower right: G. Inness. 


Grorce Inness was born at Newburgh, N. Y., May 1, 1825, and 
his boyhood was spent at Newark, N. J. He had a few lessons 
from Regis Gignoux but was chiefly self taught through patient 
study from nature. His work is divided into three distinct periods 
—the first covering the years during which in conscientious, ana- — 
lytical fashion, he painted scenes in this country, Italy and other . 
parts of Europe; the second from his return to America after 
his second visit to Europe; and the third embracing the time from 
about 1878 to his death, during which he became more and more 
a synthesist. In this latter period he painted passing effects with 
such power, individuality and beauty of color and composition 
as to place his work among that of the greatest artists of the 
nineteenth century. Many prefer the pictures of his middle 
period, to’ which those painted at Medfield belong. The latter 
years of his life were spent at Montclair, N. J., but he died at 
Bridge of Allan, Scotland, August 3, 1894. 


No. 18 


- GEORGE H. BOUGHTON, R.A., N.A. 


_ BritisH-A MERICAN 


AN ANXIOUS MOMENT 
(On millboard) 


f ii <a Height, 9 inches; length, 13 jinches. 


VV... frauen oo ee 


A youne woman, in a brown skirt and cape and 
black bodice and hood, stands near a boulder and 
peers across the stormy sea. ‘The water back of her 
is dull gray and above are inky clouds with a streak 
of light at the horizon. | 


Boughton Estate sale, New York, 1906. 


Grorcr H. Bovcuton was born near Norwich, England, 1834. 
He was brought to the United States when three years old, the 
family settling at Albany, N. Y. As a boy he taught himself to 
draw and paint and in 1853 was able to make a sketching tour 
through the English Lake country, Scotland and Ireland. In 
1858 he moved from Albany to New York and two years later 
went to Paris, where he enjoyed the friendship of Edouard Frére. 
After 1861 he made his home in London, where, in the Royal 
Academy Exhibition of 1863, he made his first notable success 
with “Through the Fields” and “The Hop-Pickers Returning.” 
He showed a partiality for subjects derived from the early days. 
of the American colonies, and these won him an enviable reputa- 
tion on both sides of the Atlantic. He died January 19, 1905. 


No. 19 


THEODORE ROBINSON 


AMERICAN 


GIRL WITH PUPPIES 
— (On canvas) 


Height, 201, inches; width, 114, inches. 
RES. So: (3. Wr Lutes 
A uTTLe girl, seen to the knees and holding a brown | 
and white puppy in each arm. She wears a pink dress x 
and green sunbonnet. A brick wall and hollyhocks 
form the background. A simple, direct picture with 
the effect of sunlight and shadow which was one of this , 


artist’s special interests. 


Signed at lower left: T-Robinson-1881. 


TuHeopore Roninson was born at Irasburg, Vt., June 3, 1852, 
and died in New York City, April 2, 1896. He studied with 
Carolus Duran and Géréme in Paris but wags never an academic 
painter. He had a studio in New York from 1880 to 1884, when 
he returned to France and spent several years at Giverny, where 
he came under the direct influence of Claude Monet. In the later 
years of his life he painted scenes along the Delaware and Hudson 
canals, in a manner which has been called impressionistic but 
which was really very personal in its sincerity and brilliance. 
He also painted figures both in interiors and out-of-doors with 
charming simplicity and originality of color scheme. He received 

-the Webb prize in 1890 at the Society of American Artists 
Exhibition and the Shaw prize in 1892. He is represented in the 
Metropolitan Museum of Art by a large canvas, “Girl and Cow,” 
similar in spirit to the picture in this collection. The Pennsylvania 
Academy of the Fine Arts owns an example and his works are. 
in private collections, but they are rather scarce. 


No. 20 


CARLO MARATTA 


Trauian 


PORTRAIT OF THE ARTIST'S 


DAUGHTER 
(On copper) 


Beight, 10%, inches; width, 75, ae 
Vie <e 5 BSL 


A sTANDING figure seen to below tis” cae holding a 
red and white fan in her right hand and leaning her 
left elbow on a table. A mass of curling light-brown 
hair is arranged on top of her head in ringlets, and a 
long curl falls over each shoulder. She wears a low- 
cut white satin gown with embroidered bodice and a 
dark blue mantle falls over both arms. Chains of 
pearls fasten her hair, and pearl pendants hang from 
her ears. A portion of a wine-colored curtain forms 
the background at the left. 


Inscribed on the back: Faustina Figlia di Carlo Maratta 
Dipinta dal Padre. Maritata all’ Avvocato Zappi. 


From the estate of J. W. Brown. 


Canto Maratra was born at Camerano, Italy, in 1625. He was a 
pupil of Andrea Sacchi in Rome and was influenced by the works 
of Guido Reni, the Carracci and Raphael. He was patronized by 
Alexander VII, and on the order of Pope Clement XI cleaned 
Raphael’s frescoes in the Vatican. He was appointed court 
painter by Louis XIV. He was called “Carbuccio delle Madonne” 
by envious contemporaries who thought him incapable of painting 
other subjects; he silenced them by “Constantine Destroying the 
Idols,” painted by commission for the Baptistery of the Lateran. 


No. 21 


JOHANN MELCHIOR ROOS 


GERMAN 
A MOUNTAIN PASS a 
: (On canvas) : col 
Height, 11 inches; length, 1434 inches. 2M 
In the valley between two mountains is a herd of goats | 


while an old herdsman is seated in the immediate fore-— 
ground; there is a pool and a steep cliff at the right. 
In the middle distance the roofs of thatched cottages 
appear, and above them is a round tower. In the 
distance are lines of trees; the large cumulus clouds 


are pink with the sunset glow. 


JoHANN Metcuior Roos was born at Frankfort-am-Main, Ger- 
many, in 1659 and died there in 1731. He was a son and pupil 
of Johann Heinrich Roos, and also studied in Italy. He was 
known to have worked in Niiremberg, Heidelberg and other 
German cities. He made a specialty of painting wild animals 
and was known as “Samstag” Roos because he usually offered his 
paintings for sale on Saturdays. He is represented in the galleries 
of Kassel, Darmstadt, Dresden and other cities. 


No. 22 


ADRIAEN BROUWER (Attributed to) 


FLEMISH 


IN THE TAVERN 


(On wood) 


ve U «* Height, 10 inches; Neidthey se iui “ova hee 


Two men smoking and drinking. The cas are seen 
_. to the waist; the man in the foreground, eg 
brown coat and broad-brimmed hat, holds a glass in 
his raised right hand and the left rests on an earthen- 
ware jug which is on a wooden table. In the back- 
ground a thick-set man, wearing a slouch cap and 
smoking a clay pipe, leans over the table. 


From the collection of Henry T. Cox, New York, 1902. 


ApriaEN Brouwer was born at Oudenarde, Flanders, in 1605 
or 1606; he was buried February 11, 1638, at Antwerp, where he 
had resided since 1631. He was living i in Antwerp in 1626 and was 
a pupil of Frans Hals at Harlem about 1628. His favorite sub- 
jects were scenes in the every-day life of the common people. 


No. 23 


EGLON VAN DER NEER 


DutcH 


A HERMIT AT HIS STUDIES — 
(On wood) 7 
Height, 101, inches; in 814 inc 


\ 


eR a 


HE hermit, sitting on a rocky bank surmounted by 
trees, is reading a big tome that rests upon his knees, 
some of the leaves being held between the thumb and 
forefinger of his right hand. His strong, ruddy-brown 
face and mustache, beard and tonsure of gray hair 
are painted with minute elaboration, as is the book 
and its brown leather cover with projecting flap and 
strap. The old man wears a brown habit with hood. 
Near him in the immediate foreground is a trailing 
vine with red flowers. Beyond him, on the right, are 
a shepherd and his flock, and two other figures ap- 
pear in an undulating pasture that terminates in steep 
hills. ‘The sunset sky has streaks of rose color across 
the grayish blue. 


On the back is a piece of paper bearing a red wax ducal seal and 
inscribed: “This to be sent to the Duke of Somerset. Hamil- 
ton, July 1811.” A very old label gives the title “A Hermit 
at his Studies Eg——Vanderneer.” There is also a printed 
clipping from the catalogue of a sale held at Christie’s in Lon- 
don, June 28, 1890, comprising paintings from the late Duke 
of Somerset’s house in Park Lane, which gives No. 41 with 
the artist’s name as Slingerlandt and the title “A Hermit at 
his Studies.” Reference to the catalogue proves this to have 
been a typographical error, No. 40 being listed as the work of 


Eglon van der Neer. The mistake was copied in the Han- 
ford collection when the picture was sold as by Pieter van 
Slingerlandt. The red wax seal of Sedelmeyer is also on the 
panel and on the frame appears his label marked 1895-No. 
196. 


From the collection of the Duke of Hamilton. 

From the collection of the Duke of Somerset, London, 1890. 
From the Sedelmeyer Gallery. 

From the collection of Mrs. P. C. Hanford, New York, 1902. 


Ecton Henprik vAN DER NEeErR was born at Amsterdam in 1635 
or 1636 and died at Diisseldorf, May 3, 1703. He was a pupil of 
his father, Aert van der Neer, and of Jacob van Loo. He spent 
some time in France; lived at Rotterdam from 1663 to 1679, at 
Brussels from 1671 to 1690, and then settled at Diisseldorf, where 
he was court painter to the Elector Palatine. He is represented in 
the National Museum at Amsterdam and in other prominent 
_ collections. 


No. 24 


JAMES MARIS 


DutcH 


LANDSCAPE—MOONLIGHT 
(On wood) 


ae gt Height, 6 inches; esi 814, inche 


bate river is at the right with the moonlight reveal- 
ing a group of boats with lowered sails, which are 
anchored near the shore; in the immediate foreground 
two figures are walking along a dark road that leads 
beneath the archway of the massive city gate-towers 
which are silhouetted against the silvery-blue sky; a 
second tower is beyond, and a few red lights gleam 
in the buildings at the left. 


Signed at lower left: J. H. Maris. 
From the collection of Alexander Blumenstiel, New York, 1906. 


Jacosus Hxenpricus Maris (known in English as James Maris) 
was born August 25, 1837, at The Hague. He was the eldest 
of three brothers, whose father and teacher was an able artist of 
the last century. A pupil of Stroebel van Hove and of de Keyser, 
Jacob Maris was greatly impressed while at Paris studying with 
Hébert, with the works of Daubigny, Millet, Rousseau, Dupré 
and Corot. Returning to Holland, his serious nature was drawn 
towards the Dutch landscape, its windmills, towns, canals; also 
to the seashore, with its picturesque fishing-boats. He was 
regarded by all his brother artists as the greatest contemporary 
landscape painter in Holland. His pictures have steadily grown 
in the estimation of connoisseurs. He died August 7, 1899. 


nara, 


No. 25 


R. DE MADRAZO 


SPANISH 


THE BROKEN PITCHER 
(On wood) 


se Height, 11%, inches; width, 6%, inches. { 

SEATED at the foot of a great tree trunk near a forest / 
path a young maiden in short-sleeved, low-necked 

bodice and pink petticoat and satin slippers is gazing 
disconsolately at a broken pitcher, the pieces of which 

are scattered on the grass near her. To the right, 

back of the figure, is an immense boulder relieved 

against a distant clump of trees. 


Signed at lower right: R. Madrazo. 


From the collection of Edward M. Knox, New York, 1906. 


Rarmunpdo pE Maprazo was born in Rome, 1841; he lives in 
Madrid with frequent trips to Paris. His father and grandfather 
before him were artists. For more than a hundred years the 

_ brush has been handed down from father to son in the Madrazo 
family. The intimate friend of Rico, Zamacois and Fortuny, to 
the last of whom he was brother-in-law, Madrazo has maintained 
the characteristics of that brilliant group, uniting a Spanish charm 
of color with Parisian technique. Of late years he has been chiefly 
employed in portraiture, and no painter is more successful in 
representing the elegance of a lady of fashion or more skilful in 
the rendering of stuffs and textures. 


No. 26 


FELIX ZIEM 


 Frencu 


SUNSET—STAMBOUL 
(On wood) 
Height, 6 inches; length, 8 inches ws 


2 Ua a TV Ae ae 
In the immediate foreground is a narrow edge of shore 
which gradually broadens as it crosses the picture, 
and then curves in a loop across the distance, losing 
itself in the horizon where some sails are faintly vis- 
ible. The violet-gray forms of domes and minarets 
are outlined against the primrose of the sky, which 
becomes a clear yellow above and then blends with the 
light blue at the zenith. In the expanse of blue water 
are two boats in one of which three men stoop as 
though paying out a net, while in the other a man is 
plying an oar. 

Signed at lower left: Ziem. 
From the collection of Arthur A. Crosby, New York, 1905. 


Fréuix Ziem was born February 25, 1821, at Beaune, a little 
town near Dijon, France. At the Academy of that city he 
received the art education which he supplemented by study from 
nature in the south of France and in Holland, receiving the first 
Salon medal in 1851 for a picture of Dutch scenery. Then he 
visited Constantinople and Italy, and found his true bent. 
Pictures of the Golden Horn and of St. Mark’s Place, Venice, 
exhibited in 1857, made an unusual sensation; he was elected to 
the Legion of Honor, and the remainder of his life was devoted 
to variations on the dream of light and color represented in 
those two pictures. He died at Paris, November 10, 1911, aged 
ninety. 


No. 27 


W. ROELOFS 


DutcH 


A DUTCH CANAL 


(On wood) 


ar Wes 
A wivE expanse of rich green country, through which// 
a sluggish canal flows toward the foreground at the 
_ right; its far bank is lined with shrubbery, above which 
a white sail shows, and trees crown the rising ground 
at the extreme right. The field at the left is crossed 
by a rustic fence and at the horizon, in the far dis- 


3 je y c+ Height, 5 inches; length, er inches. 
ee 8 


tance, there are windmills and indications of a town. 
The sky is filled with moving gray clouds through 
which are glimpses of deep blue sky. There is a feel- 
_ ing of bigness in the little picture. 


Signed at lower right: W. Roelofs. 
From Boussod, Valadon & Co. 


Witiem Roertrors was born at Amsterdam, Holland, in 1822 and 
died at Berheim in 1897. He was a pupil of Winter in Utrecht, 
and of Van der Sande-Bakhuysen in The Hague. He settled in 
. Brussels in 1848 and became identified with Belgian art, although 
he never entirely lost his identity. He received many honors and 
thas a wide reputation. 


No. 28 | 


JULES DUPRE 


FrencH 


THE COTTAGE 


(On wood) 


Height, 91%, inches; length,/14,inches rs | 

eet oe ot, Lente o- ] 
In the foreground at the right is a pool; a road is a 
in the center, with a woman wearing a blue apron 
standing near thatched cottages; beyond, two tall 
trees rise against a deep blue sky, and bushes are at 
right and left. A richly colored and characteristic 
work, 


Signed at lower right: Jules Dupré. 


From Boussod, Valadon & Co., 1902. 


Jures DurrE was born at Nantes, France, April 5, 1812, and: 
died at P’Isle Adam, near Paris, October 6, 1889. At twelve years. 
of age he was the chief decorator in his father’s porcelain works. 
From his début at the Salon of 1831, he immediately became @ 
favorite. His rich color and masterly handling oz paint place: 
him in a class quite by himself. : 


No. 29 


A. G. DECAMPS 


FRENCH 


MARINE 


(On canvas) 


eahichae 12%, inches; length, ta PL 
a i is ff YA ann. 


A rowzoat, with eight men at the oars and several 
other figures, is being driven by high waves against a 
steep gray cliff at the right. The rocks extend almost 
to the horizon where a single sail is balanced between 
inky water and stormy gray clouds. At the zenith 
the sky is clearer, with lines of rain sweeping across 
it. There is wreckage in the immediate foreground. 


Initialed on the side of the boat: D. C. 


ALEXANDRE GasrRiEL Decamps was born March 8, 1803, in Paris 
and died August 22, 1860, in Fontainebleau. He was a pupil of 
Abel de Pujol, traveled in the East and painted many Turkish 
scenes. It was his ambition to become a great historical painter 
but he will best be remembered by his Eastern scenes in which 
his masterly handling of light and shade and his rich color are 
shown to the best advantage. 


No. 80° 


CAMILLE HIPPOLYTE DELPY > 


Frencu 


LANDSCAPE 
(On wood) 


3f- Phares Height, 1114 inches; geepeK ao tote ay , a 
A quiet stream, with lily ees, reflects the shrub- 
bery on the irregular farther shore. There is a pale 
greenish-blue sky swept with pinkish clouds. A rest- 


ful, livable picture. ; 
Signed at lower right: H. C. Delpy, 89. 


CamiLtE Hirrotyte Detpy, a French landscape painter, was 
born in 1841, at Joigny, and died in 1910. He received an honor- 
able mention at the Paris Salon in 1881 and medals at the Exposi- 
tions of 1889 and 1900. He is at his best when painting quiet 
water. 


No. 81 


LOUIS ROBBE 


BEitc1an 


SHEEP AND DONKEY 
(On wood) 


; Height, 12 inches; length, 18-inches /’ 
Ef] ae V/ "1 TAL a 
——— ‘ ( 
A LEVEL green field with two sheep and a lamb lying 


down; a goat and donkey stand beyond, and in the 
immediate foreground there are two ducks at the edge 
of a pool. In the distance a village church nestles 
at the foot of a line of hills of which there are sev- 
eral tiers, each one more faint and blue, until they 
finally blend into the clouds at the horizon; at the 
_genith the sky is deep blue. 


Signed at lower left: Robbe. Inscribed on the back in 
the writing of the artist: “Je déclare que le ta- 
bleaw ci contre a été peint par mot et quwil est 
parfaitement original. Bruxelles le 30 Avril 1861. 
L. Robbe.” 


Purchased from the artist. 


-Lovis Marie DominiaveE Romain Rosse was born at Courtrai 
in Belgium, November 17, 1807, and died in Brussels in 1887. He 
was a lawyer at first, but after 1830 devoted his time to art. He 
received a medal at the Paris Salon in 1841, the Legion of Honor 
in 1845, a medal at the Paris Exposition in 1855, and a gold 
medal at Brussels. He was made Chevalier of the Legion of 
Honor of the Order of Leopold, and of that of Charles III of 
Spain. His pictures were always of animals, usually of sheep. 


No. 82 


GEORGE MORLAND 


BrirtisH 


SMUGGLERS IN THE ISLE 
OF WIGHT SS a 


(On canvas) 


, Height, 12 inches; length, 144%, “i ; 


joa tee 


A rowsoaT has been drawn up on the beach and - a 
barrel is being rolled toward a canvas-covered wagon 
at the left. The horses have been unharnessed and | 
stand in the foreground, the driver at the head of the 
brown horse, the white one in front. Steep gray cliffs : a 
curve from the left around the shore of the bay on 4 
whose greenish water, in the middle distance, are two 
sailboats. Dark rocks are in the immediate foreground 
at the right. There are heavy clouds turning pink, 
with light blue sky above and gulls flying low. This. 
painting, which has been engraved by W. Ward, has 
the more refined touch which often signalizes Morland’s 
brush work. It is beautiful in color and tonality. 


i 


rs 
tel 4 


From Martin H. Colnaghi, London. 


For biography see No. 5. 


No. 33 


A. D. PEPPERCORN 


BrirtisH 


A GRAY DAY 


(On canvas) 


Height, 12 inches; length, 18 in ohes 


jee ov - . VVVL . AR MAM AAL Ane tir4— 
A MEADOW with three white ee and a brown one ] 


grouped near a gate at the left. Beyond is a belt © 
of wood which skirts the pasture to the middle dis- 
tance where the view is bounded by a hedge. The 
trees are in various tones of olive black, blurred by the 

_ gathering darkness in which the wood has the appear- 
ance of loose and penetrable density. The whole 
scene is saturated with cool, moist atmosphere. 


Signed at lower right: PEPPrERcoRN. 


From the collection of J. D. Ichenhaiiser, New York, 1903. 


Artuur D. Prerrercorn is a contemporary British painter who 
exhibits regularly at the Royal Academy. 


No. 84 


RICHARD PARKES BONINGTON | 


BritisH 


MARINE 


(On canvas) 


ip 7 eo Height, 1414 inches; length, inches 


A FISHING-BOAT is drawn up on the beach in the for 
ground and at the right nets are drying; there are 
several figures on the beach, which curves at the left 
with sail-boats anchored near shore. Cloudy gray sky. 
Beyond is the city of Naples with Vesuvius in the © 
background. The picture shows that beauty and 
charm of nature and play of light on the water which 
are characteristic of this young painter. 


From the collection of Thomas Kirkpatrick, New York, 1901. ~ 


RicHarp Parkes Bonineton, an Englishman by birth and 
parentage, was born at Arnold, near Nottingham, October 25, 1801. 
_ When a youth the family settled in France and he was trained 
as a painter in Paris. He was the connecting link between the 
English classic masters and the French landscape painters of the 
school of 1830. He entered Gros’s studio but made frequent trips 
to London and was strongly influenced by Constable. In Nor- 
mandy and Picardy he painted his first landscapes, then came 
a trip to Italy and a series of Venetian scenes. He was attacked 
by consumption and died September 23, 1828, in London, where 
he had gone to consult a specialist. 


No. 35 


J. BEAUFAIN IRVING, N.A. 


AMERICAN 


AT THE CONFESSIONAL 
(On millboard) 


9 8 2° _ Height, 161% inches; width, 12 inches. eee oe 


StTanpine near a mahogany confessional, her clenched 
right hand resting on the base of a column and her 
beads held in the other, is a lady in a black dress 
with a brilliant red shawl over her left arm and a 
white and red knitted scarf around her head and neck. 
The face of a priest is dimly seen through a small lat- 
ticed opening in the side of the confessional. High 
up on the gray wall behind the figure is a gas jet with 
a glass globe. 

. Signed at lower right: J. B. Irving, Jr., 1866. 


From the collection of Frederick S. Gibbs, New York, 1904. 


J. Beaurain Irvine was born in Charleston, S. C., in 1826; and 
died in 1877. He was a pupil of Leutzé in Diisseldorf and on 
his return to America painted many years in Charleston and in 
New York, making his first success in portraiture. His genre 
pictures soon secured recognition and in 1872 he was elected a 
member of the National Academy of Design. 


No. 36 


WILLIAM M. CHASE, N.A. 
AMERICAN 
THE EAST RIVER 
(On wood) — 


33 A aps ‘Height, 10 inches; length, 155 inches — 
Tx wide expanse of the river fills the foreground where 
there is a single rowboat with one man at the oars. 
On the far side and extending to the distance are the ~ 
docks and shipping of the Brooklyn waterfront with 
two black funnels cutting against the sky and reflected 
in the quiet water. A gray day is suggested. | 


Signed at lower right: W. M. ‘Chase. 
From the collection of Wm. T. Evans, New York, 1900. 


Witr1am Merritr Cuase, the dean of American painters, was 
born at Franklin, Indiana, November 1, 1849. He studied in Indi- 
anapolis and in New York and then went to Munich and Paris. 
His great versatility makes it doubtful whether his reputation 
will finally rest upon his portraits, his wonderful painting of still- 
life, particularly of fish, or his landscapes. But perhaps his 
greatest fame is as a teacher, and it is in Mr. Chase’s classes in 
New York in the winter or in Europe in the summer that 
innumerable young painters have learned their art. He was 
elected a member of the National Academy of Design in 1890, 
is one of the Ten American Painters and a member of the 
American Academy of Arts and Letters, He received the gold 
medal of honor at the Pennsylvania Academy of the Fine Arts 
in 1895; a gold medal at the Paris Exposition of 1900 and many 
other awards. He is represented in all the important museums 
in the United States. 


| No. 37 
CHARLES MELVILLE DEWEY, N.A. 


AMERICAN 


TWILIGHT 
(On wood) 


ws - Height, 11% inches; length, 1654 inches fj-— jf . 
Se Reina ff, 


In the foreground is a marshy pool “which reflects a 
group of trees and a hut on the far shore where the point 
of land juts out toward the right. The autumn foliage 
is silhouetted against a cloudy sky streaked with pink- 
ish sunset glow. In the far distance at the right there 
is a lighthouse 

Signed at lower left: Charles Melville Dewey. 


From the collection of David C. Pryor. 


Cuaries Metvitte Dewey was born in Louisville, N. Y., July 16, 
1849, and lives in New York. He was a pupil of Carolus Duran 
in Paris. In 1907 he was elected a member of the National 
Academy of Design, and received medals at the Buffalo and St. 
Louis Expositions. He is represented in several museums, includ- 
ing the Corcoran Gallery in Washington and the Pennsylvania 
Academy of the Fine Arts. 


No. 38 


ABBOTT H. THAYER, N.A. 


AMERICAN’ 


A PRIZE. BULL 


(On canvas) 


uh f y be Height, 12 oD cae Be AS a 
A stupy of a brown and white bull standing in his stall 
with halter on head and ring in nose. The light from 
an opening in the wall behind strikes sharply along the © 


back of the bull, and a secondary light, presumably 
from an open door at the right, further accents the 


vigorous anatomy of the animal. ‘ 
Signed at lower right: A. H. Thayer. 


From the collection of Frederick S. Gibbs, New York, 1904. 


Axspott Hanpberson THayeR was born in Boston, August 12, 
1849, and studied art in that city, in Brooklyn, and at the Acad- 
emy of Design in New York; then went to Paris in 1875, and 
worked at the Ecole des Beaux-Arts under Lehmann and Géréme. 
His early predilections were for landscape and cattle painting, 
but with the progress of time he became distinctly a painter of 
the figure. His portraits, his subject and ideal pictures are, in 
conception, in manner, and in color schemes, among the most 
individual work in the American school of painting. He has a 
noble ideal, his draftsmanship is strong, the color pure, the 
composition well-balanced and the handling large. His “Caritas” 
in the Boston Museum and “Young Woman” at the Metropolitan 
Museum are among his best known works. Mr. Thayer was elected 
a member of the National Academy of Design in 1901. He lives 
at Monadnock, N. H. 


ee ct 
eA, 


ee | 
<: ¢ 


No. 89 


F. BALLARD WILLIAMS, N.A. 
AMERICAN 


THE ENCAMPMENT—VALLEY OF 
THE PASSAIC 


(On canvas) 


A uzveL plain with a clump of trees at the left in 
front of which a tent has been erected; two horses have 
been unhitched from a traveling wagon and are brows- 
ing nearby. A village is seen in the distance at the 
right. The tender green of early summer foliage is 
tempered by a haze; a few of the trees rise above the 
others against a mellow blue sky with clouds near the 
horizon. This picture was exhibited at the Pan-Amer- 
ican Exposition at Buffalo in 1901 when Mr. Williams 
received a medal. 


Signed at lower lefi: F. Ballard Williams, 1900. 


Purchased from the artist. 


Freperick Battarp WIittiaMs was born in Brooklyn, New York, 
October 21, 1871, and received his art education at the schools of 
Cooper Union and the National Academy of Design. Besides 
painting landscapes, he has made a reputation for his decorative 
figure compositions, wherein the jewel-like color of the women’s 
gowns are shown against the rich green landscape. He is repre- 
sented in the Metropolitan Museum by one of these compositions, 
“T’Allegro,” and has pictures in the National Gallery, Washing- 
ton, the Albright Gallery, Buffalo, and the Brooklyn Museum. 
Mr. Williams was elected a member of the National Academy of 
Design in 1909. He was awarded the Inness prize at the Salma- 
gundi Club in 1907, and the Isidor gold medal at the National 
Academy of Design in 1909. His studio is in New York. 


QL SY ‘£- Height, 13 inches; length, 17 inches 2 Vey 


No. 40 


ROBERT C. MINOR, N.A: 


AMERICAN | 


NEAR THE WIGWAMS, WATER- 
FORD, CONNECTICUT  ~— 


(On canvas) 


Height, 16 inches; length mien 
ate OAs is 


In the foreground at éhe right is a narrow winding 
stream on whose gently rising banks are groups of 
trees; between the masses of shrubbery the eye is 
carried to the far horizon where a few trees are silhou- 
etted against the last glow of a sunset sky; above, the 
soft floating clouds are already dark against a deep 
blue sky. 

Signed at lower right: MINOR. 
From the Robert C. Minor sale, 1905. 


Rosert C. Minor was born in New York City in 1840. He was . 

a pupil of Diaz and Boulanger in Paris and of Van Luppen in 
Antwerp. He was elected an Associate of the National Academy 
of Design in 1888 and a full Academician in 1897. He had a 
studio in New York but much of his work was done at his coun- 
try home at Waterford, Conn., where he died August 3, 1904. 
His work is founded on the traditions of the Barbizon school but 
there is a distinct personal note in his pictures. Poetic senti- 
ment, simplicity of subject, harmony of composition with fine 
resonant color effects, are their characteristics. 


7 
é 
" 4 r. : - 
7. : 
‘ 
—_ — } 
o> 
A 
ce . e 
' fl 
> 
j 
5 
' 4 
Fr 
+ % 


No. 41 


GEORGE H. SMILLIE, N.A. 


AMERICAN 


NEAR THE BEACH, EAST 
GLOUCESTER 


Height, 9 inches; length, 18 inches. 
; ee g 3 Tats ay 
ot i : Bm. Cnartale 


A rocky beach with sparse aan in the back- 
ground at the left a woman stands near a stone wall 
and a cottage is beyond; round topped rocks stretch 
away at the mght. Dark moving clouds revealing 
blue sky at the left; a flock of birds is silhouetted 


against the sky. | 
cr Signed at lower left: Geo. H. Smillie. 


From the collection of Edward Runge, New York, 1902. 


Grorce Henry Smiiie was born in New York City, December 
29, 1840, and is a son of the engraver, James Smillie, N.A., and 
younger brother of James D. Smillie, N.A. He entered the studio 
of James M. Hart at an early age, and his artistic career is 
confined to this country. He paints landscapes chiefly and the 
special note in his work is that of brightness and gaiety. He was 
elected an associate of the National Academy of Design in 1864, 
and a full Academician in 1882; he is a member of the American 
Water Color Society, and the Century and Lotos Clubs. He 
received the $2,000 prize at the American Art Association in 1885, 
and a medal at the St. Louis Exposition in 1904. He is repre- 
sented by “Autumn Afternoon” in the Metropolitan Museum of 
Art, and by two landscapes in the Corcoran Gallery at Washing- 
ton. His home is in Bronxville, N. Y., and he also has a studio in 
New York City. 


No. 42 


MOSTAERT (Attributed to) 


DurcH 


ADORATION OF THE KINGS 
(On wood) 
Height, 151% inches; width, 1134, inches. 


= eee wearing a brown robe, i is seated at the left 
and holds the nude Infant on her lap. In her left han 
is a gold vessel, a present from the old King Jasper 
of Tarsus, who kneels in the immediate foreground, 
wearing a dark cloak with an ermine collar. Balthasar, 
King of Saba, in a red cloak, stands with his black 
velvet cap doffed in adoration, and offers an elaborate 
censer; while Melchior, King of Ethiopia, stands 
further to the right and raises the cover of the jeweled 
beaker containing his gift of myrrh. Back of the 
Virgin stands St. Joseph and beyond is the manger 
with the heads of the ox and the ass at the extreme 
left. A procession of attendants on horseback and on 
foot, carrying banners with crescent, star and cross, 
winds through a hilly landscape. An excellent example 
of the period. The composition is very similar to a 
well-known painting by Martin Schoen (1420?-1488). 
MosraErt: Several Dutch painters of this name lived and worked 
in the first half of the sixteenth century. Jan, born in 1474 and 
died about 1555, had twin sons, Frans (1534-1560) and Gillis 
(1534-1598). Gillis, a pupil of Jan Mandyn, was the one who 


painted chiefly religious subjects, while his brother was noted for 
his landscapes, the two at times working on the same picture. 


Fhe a 


4) ee 


No. 48 


PEETER NEEEFS, the Elder 


FLEMISH 


INTERIOR OF CATHEDRAL 
| (On copper) 


Height, 18 inches; length, Bi fake 
Yo. 
rg 


triforium gallery extends between the clerestory win- 
dows and the arches; the vaulting is ribbed. The aisles 
show on each side with paintings above the altars in 
several of the archways. In the foreground at the 


right a woman stands back of a beggar and two chil- 


dren, while a man leans upon the masonry, gazing at a 


tomb. Several figures are in the nave, a monk in the 


foreground is in conversation with two peasants, while 
further back another monk in a white habit is talking 
to a lady who leans upon the arm of a gentleman; a boy 
is at her side. 3 


On the back is the memorandum: “Lot 275. P. NEEFS. 
Bought at Alton Towers for I. M. Threlfall, Esq., 
by Thos. Agnew & Sons.” 


From the collection of the Earl of Shrewsbury. 


From the collection of J. D. Ichenhatiser, New York, 1903. 


Prerrer Neers, the Elder, was born at Antwerp between 1578 
and 1582. He was the best pupil of Hendrik van Steenwyck, the 
Elder, and entered the Antwerp Guild in 1609. He was famous 
in the Flemish school for his paintings of church interiors, in 
which the figures were usually inserted by Frans Franken III, 
Teniers, Brueghel or Van Thulden. He died about 1656. 


Wotedgle 


A Lone vista of nave, reaching back to the altar; a 


W. MIERIS 


Doce: 


A LADY AT HER TOILET — on 
(On wood) : 


3 pe ee, Pee 14% ogee aa uy oe 


- YOUNG ee dressed 1 in a low-necked white “st 


“shes is” 


stands on a covered table at the dane 
paring to oh ei in her blond hair. On the = ie 


and a ote of pearls. ‘Beyond: an older woman in AC 


dark, low-necked dress leans over the table Ree a 
with both hands a covered glass. A mantel forms the | 
background at the left and near it is a white and brown i | 
dog; a brown curtain is draped across the top at the 
right. | a 
Signed on the back of the chair: W. nae 


WILLEM vAN Mieris was born in 1662 at Leyden and died 
there in 1747. He was a pupil of his father, Frans van Mieris, 
the Elder, whose work he frequently copied. His favorite sub- 
jects were domestic scenes and his execution shows the detail and 
ability to convey texture which is characteristic of the Dutch 
painters of the seventeenth century. 


No. 45 
DUTCH SCHOOL 
A WOMAN CUTTING CABBAGES 


(On canvas) 


ve Height, 17 inches; length, 21 inches: soe 


SEVERAL figures are grouped about a woman who is 
seated and cutting cabbages into a pail. A man at 
the left offers her a glass, and another, who is going 
away toward the right, turns and looks at her over his 
shoulder. Through an archway at the left there is a 
view of trees and sky. The general color scheme is of 
rich warm browns with touches of bright color in the 
dresses. 


No. 46 


GEORGES MICHEL 


FreNcH 


MARINE 


(On canvas) 

Height, 18%, inches; length, 25%, B pecs . 

(EU = We. SAMA AY 
THE water is at the right and at the left a brown 
barren beach which curves towards the distance where 


a line of gray buildings is seen against the horizon. In 
the foreground a man in a sailboat is drawing in the 
anchor and two men stand nearby on the shore. Sails 
dot the horizon, where a line of light breaks the masses 
of inky clouds; yellowish sky shows at the upper 
left. A strong picture, showing this artist’s favorite 
stormy sky, but somewhat unusual in subject. 


From Boussod, Valadon & Co. 


GrorcEs MicHEL was born at Paris in 1763. He had a strange 
and checkered career, for he ran away with a laundress in his. 
’teens, restored pictures and earned money in various other ways 
to support a large family, and sketched and painted whenever he 
could buy, beg or borrow materials. Through all this he had a 
distinct and individual purpose in his art, an intention doubtless 
founded on his study of the old Dutch landscapists, which he 
carried out so thoroughly that, although unrecognized during his 
life, he is now esteemed as the forerunner of Rousseau and his 
school. His pictures, which are seldom signed, are easily dis- 
tinguishable for their great breadth of effect and solidity of 
treatment. He died in 1843. 


No. 47 
HENRI LEROLLE 


FreNcH 


REST FOR THE WEARY 


(On canvas) 
-e. Height, 27 inches; width, 24 inches. 

BN sof ead S why 
A FIELD with a haystack at the 


NY AMAA. 
right near which, in 
the foreground, a woman, wearing a long black cloak, 
is seated; a package wrapped in a blue handkerchief is 
on the ground at her feet. A hedge is in the middle 
distance and beyond are low hills. The masses of 
cumulus clouds are dark at the horizon and pink above 
where they break and show a bit of clear blue sky. The 
brushwork is masterly. 

Signed at lower right: H. Lerolle. 


From the Julius Oehme sale, New York, 1908. 


Henri Lerorre was born in 1851 (?) in Paris, where he now 
lives, and was a pupil of Lamothe. He is represented in the 
collection of the Metropolitan Museum of Art by a large canvas: 
“In the Organ Loft.” 


No. 48 


CHARLES EMILE J ACQUE 


FreNcH 


THE CLOSE OF DAY 


(On canvas) 


- Height, 26 inches; width, 22 inches. 


In the foreground fave horses—a sorrel, a white an 
dapple gray, with a man riding the last—are stepping | 
out of a pond and moving toward a stone stable at 
the right. In the middle distance at the left, a meadow 
and some farm houses shimmer in the sunlight. The 
sky beyond is almost covered with luminous clouds 
tinged by the glowing haze of the setting sun, its 
golden light giving the whole composition a tone both 
rich and harmonious. The effect is at once realistic 
and powerful, and the influence of Jacque’s neighbor 
at Barbizon, Jean Francois Millet, is strongly felt. 
“Chevaux a |’Abreuvoir, Clair de Lune,” a study sold 
in 1894 in a collection of this artist’s drawings, shows 
the same place as this painting with the horses drink- 
ing and facing the spectator instead of moving away. 


Signed at lower left: Ch. Jacque. 


Cuaries Emre Jacque was born in Paris in 1813. In early life 
he was apprenticed to a map engraver, and during his term of 
army service he practised wood engraving and etching, and after 
leaving the army devoted himself to these branches. It was 


through these mediums that he first gained public attention, but 
it was not until 1861, after he had been painting sixteen years, that 
he was accepted as a painter. He had a great fondness for 
animals, particularly for sheep and pigs, and not only bred 
poultry but wrote a book on it. He was the last survivor of the 
Barbizon group, and, unlike most of his friends, ended his life in 
comparative affluence. He received medals at the Paris Salons in 
1861, 1863 and 1864, and at the Expositions in 1867 and 1889, 
and was made Chevalier of the Legion of Honor in 1867. He 
died in 1894, 


La ee a ox “hh au bei man hts ee ye 


_ No. 49 7 
CHARLES EMILE JACQUE 
FrencH . 


EVENTIDE 


(On canvas) 


se Mery we Height, 244, ine oe eras oe 


At the left is a group of/farm ee partly hidden 
by willow trees and dominated by a tall slender tree 


which rises out of the picture at the top. Under one of — 


the willows stands a woman who is feeding chickens. In 
the immediate foreground at the left is a pool in which 


ducks are swimming, and at the right a muddy road 


leads away across the plain, beyond which in the 
distance is a sunlit field, while low hills in shadow are 
seen at the horizon. The sky is completely covered by 
masses of luminous clouds. A bit of French country 
life of the type which appealed strongly to the artist. 


Signed at lower left: Ch. Jacque "70. 
From the collection of Edward M. Knox, New York, 1906. . 


CuHarrtEs Emite Jacque, one of the prominent painters of the 
middle of the last century, was born at Paris May 13, 1813. He 
began as an engraver and his plates hold a high rank. Subse- 
quently he took up painting and selected genre subjects as well 
as the sheep pictures by which he is most popularly known. He 
had a home at Barbizon, where he was a neighbor of Jean Fran- 
¢ois Millet. He was awarded the Grand Prix at the Paris Uni- 
versal Exposition in 1889. He died in Paris May 7, 1894. 


‘No. 50 


BERNARDUS J. BLOMMERS 


Deutrcu 


RETURNING HOME 
(See Frontispiece ) 
(On canvas) 


¥/ Vie ee Height, 19 inches; width, 15% ain es fe 
WV 4177 


Tue picture represents a simple bit ee every-day life/ 
among the peasants of Holland. In the fast- tad 

light, along a road winding among the dunes, a horse 

is dragging a cart and a man is walking slowly beside 

it. Nearer to us a young woman, with a child wrapped 

in a blue cover held closely in her arms, shows in her 

face the tenderness of the mother mingled with the 

blank look of the tired peasant. A chubby little girl in 

a white dress and red cap trots by her side. 


Signed at the right: B. J. Blommers. 


From the collection of George N. Tyner, New York, 1901. 


BERNaRDUs JOHANNES BLoMMERS was born at The Hague, Janu- 
ary 30, 1845, and lives in his native city. He was a pupil of 
Bisschop and of The Hague Academy, but his work has nothing 
in common with his master and little of Israels or of Jacob Maris, 
whom he admires above all others. These artists are all inter- 
ested in the home life of the Dutch people, but Blommers sees 
the fisher-folk from the glad and robust side. He has received 
many honors, including a gold medal at the Paris Exposition, 
1900. Mr. Blommers was in New York in 1912 to paint a 
portrait of Andrew Carnegie for the Peace Palace at The Hague. 
The commisison was originality given to Jozef Israels, but after 
that artist’s death was transferred to the dean of Dutch painters. 


No. 51 ee 


JOHN OPIE, R.A. 


BririsuH 


HEAD OF A GIRL 


(On canvas) 


Height, 17% inches ; width, 14 inches 
i ODL. 


oe i sd q 
ES figure seen almost to acc waist ; Treaty 4 


in profile toward the left and the head faces three- 
quarters front. She wears a high-crowned poke bonnet 
beneath which show wisps of brown hair. The face 
with its rosy cheeks and brown eyes has a bright happy 
expression. So much of the costume as is visible shows 
a gray-green coat with a high-waisted belt and large 
roll-over collar above which is a soft white muffler. A 
landscape, with a line of trees at the horizon, forms the 
background. The color scheme of the whole picture is 
in tones of dull green relieved by the flesh-tints and 
the white muffler. 


From the collection of the late A. W. Bennett. 
From the collection of J. D. Ichenhatiser, New York, 1903. 


Joun Orie was born at St. Agnes, near Truro, Cornwall, Eng- 
land, in 1761. He began to paint at the age of ten and sold 
portraits at sixteen. In 1780 he was introduced to Sir Joshua 
Reynolds by Peter Pindar as the Cornish genius. He painted 
some historical subjects, but excelled in portraits, which are 
distinguished by fidelity and directness. He was elected a mem- 
ber of the Royal Academy in 1805 and was chosen a professor 
of painting in the Academy in the same year. He died in 1807, 
in London, and was buried in St. Paul’s Cathedral. 


CL nh é a. LP i tes 
; ee eT eee Cpa? tm wm. GOT Ce 6. to rh 
| CAST et MOAI ACA he fr’ 


+ 
3 
ee: 
— 
a 
4 


[EEA RSER AEDS BARRE S BSE IR wxccreicreoms 


veer Perks 
A tent ied Mea 5% 


i 
Sa wren ¥ 


No. 52 


JOHN CROME (OLD CROME) 


British 


LANDSCAPE 


(On canvas) 


2 Height, 241/, inches; width, 19Y inches. — 


Foot 


AN opening in the autumn woods w 


/ 


an almost bare 
oak in the immediate foreground at the right and a 
group of oaks on a knoll in the middle distance. In 
the open space lie trunks of trees that have been 
cut down, and a kneeling figure is binding fagots. The 
sunlight strikes the ground back of the figure and also 
lights a mass of clouds outlining them against the 
grayish sky. There is rich golden color throughout. 


_Jouwn Crome, called “Old Crome,” was born in Norwich, Eng- 
land, December 22, 1768, and died there April 22, 1821. He was 
the son of a weaver in poor circumstances. John apprenticed 
himself to a sign-painter when he was twelve years old and 
stayed with him seven years. He was forced to teach to earn 
a livelihood and took a position in a London school. He 
exhibited at the Royal Academy in 1806, and after that became 
well known and his paintings found rapid sale. He was the 
founder of the Norwich School of Artists. He was also a water-~ 
colorist and an etcher. ‘“Mousehold Heath,” in the Wallace 
Gallery in London, is perhaps his best known work. 


iyi aS ry, 


No. 58 


MAX WEYL 


AMERICAN 


LANDSCAPE 


(On canvas) 


Say Height, 19 inches; length, 26 ie 


Turovex level green fields a narrow stream flows 
diagonally across the picture toward the left into the 
immediate foreground. In the middle distance, at the 
right, are several pollard willows with gray-green spring 
foliage and on the bank one bare tree trunk rises out of 
the picture. In the distance there are clumps of trees 
at might and left, and in the open space between, two 
feathery trees at the horizon are silhouetted against the 
lumimous gray sky. 

Signed at lower right: MAX WEYL. 


Max Wey. was born at Muhlen, Wurtemberg, Germany, De- 
cember 1, 1837, and came to America in 1853. He was by trade 
a watchmaker and established himself in the jewelry business in 
Washington, D. C., where he still resides. His fondness for 
painting led him to devote more and more time to art until 
1877, when he gave up business. It was some years before he 
received any recognition, but in 1901 he received the first Cor- 
coran prize and in 1904 the Parsons prize at the Society of 
Washington Artists Exhibitions. Exhibitions of his work have 
been held in New York, Chicago and other cities. 


| No. 54 aa 
GEORGE H. BOUGHTON, RA, N, 


‘Barrisu-Amenican 


WINTER 


Height, 23 inch 


a 


A stretcu of undulating sand 
tation. A figure is moving across the plain. . In | 
middle distance is a dull green hillock. The ‘cloudy: 
sky is tinged with a cold yellow light which is most 
brilliant at the horizon. The general color i is greenish 
with a feeling of snow in the air. | | 


For biography see No. 3. 


fo ey 


No. 55 


LEON GERMAIN PELOUSE 


Frencu 


LANDSCAPE 


i So ei ec _ Height, 288, inches; width, 2114 inches.. 


0 f 
A MoIsT green field with a gnarled tree Gh is et 
beginning to leaf, in the foreground. A stream is at 
the left with shrubbery on the far bank; brownish low 
hills are at the horizon against a luminous gray sky. 


Signed at lower left: L. G. Pelouse. 
From the collection of Henry Mosler, New York. 


Lton Germain Perouse was born at Pierrelaye, France, in 1838. 
He received medals at the Salon in 1873 and 1876, and at the 
Exposition of 1878, in which year he was made Chevalier of the 
Legion of Honor. A gold medal was awarded him at the Paris 
Exposition of 1889. He died in 1891. 


No. 56 


JEAN FRANCOIS DE TROV 


FrencH 


NICOLAS DE CATINAT, Maréchal de 
France 


(On canvas) 
me ews es Oval: Height, 281, i “( ae | 


He wears a full dark brown wig, the curls fal n oe over 
a Mechlin lace neck ruffle and across the breastplate. | 


The full brown eyes and other features are strongly 
modeled. | 


Inscribed at upper ale Mr LE Mat DE CATINAT. 


From the collection of the Marcus de Biencoure 


JEAN Francois pe Troy was born in 1697 in Paris and died in’ 
1752 at Rome. He was a pupil of his father, Francois De Troy, 
who sent him to Italy at his own cost when he had unsuccessfully 
competed for the Prix de Rome. He then was given a royal 
pension. On his return to France in 1708 he became a member 
of the Academy. He executed a number of tapestries for Louis 
XV, representing the history of Esther, and in 1738 was appointed 
Director of the French Academy at Rome, but resigned on 
account of some-fancied grievance against the Court. 


No. 57 
G. TERBORCH 


DutcH 


PORTRAIT OF A SCHOLAR 
(On canvas) i 


a mae Height, 36 inches; width, 281, i $. (3 


Tue full-length figure of a man seated, resting his 
right elbow on a red-covered table, on/ which are 
an open book, a compass and a square. His long brown 
hair is parted in the middle and falls over a square 
white linen collar; his garments are black. In his right 
hand is a rolled paper; the left is bent against his knee. 
A distinctive and charming note is a little girl who. 
stands at the extreme right, wearing a white apron 
over a brown dress “trimmed with: transparent white 
lawn and lace, while on her brown hair is a close-fitting 
white lace cap with red rosettes. A dark green curtain 
is draped at the left, revealing an archway beyond 
which are trees and a sunset sky. 
Monogramed on the base of a column at the right: 
G. T., entwined. 
From the collection of Mortimer Green, New York, 1904. 
Gerarp Tersorcu (or Tersurc) was born in Zwolle, Holland, in 
1617 and died in Deventer in 1681. He was a pupil of his father 
and of P. Molyn at Haarlem. In 1635 he visited England and 
Italy. In 1641 he returned to Amsterdam; for a time he was 
Burgomaster of Zwolle. His work shows the influence of Frans 
Hals, Rembrandt and Velasquez. He is represented in many of 


the European art galleries and ranks high among the Little 
Masters of Holland. 


KAREL FABRITIUS 
THE ADVOCATE 


(On canvas) 


Height, 333, inches; wid é 
2 Aan 


Tue figure of a young man seen to the waist, standing _ 
in front of a table resting his clasped hands on a closed 
book. He faces the spectator but the body is turned - 
a little to the right. The costume is simple and con- 
sists of a wide-sleeved olive-green coat over a dark wine- 
colored jacket with soft white linen collar. A dull red f 
cloak with short cords and tassels hangs over the shoul- 
ders. ‘The head, which is framed in a mass of light ee 
brown wavy hair, is strongly illuminated from the 
upper left; the other side of the face is in shadow. __ 
The background is dark green, almost blue. The tone 
throughout is rich and mellow. eae 4 


From the collection of Humphry Ward (Art Critic of London on 
Times). ue 


From the T. J. Blakeslee sale, New York, 1904. ~ # 32 “Bf cin 


~ 


KareL Fasritius was born in 1624; died in 1654. He was the 
pupil of Rembrandt and the master of Jan Vermeer of Delft. 
He is represented by a Portrait of a Man in the Museum at 
Rotterdam, and in the galleries at Amsterdam, Munich and 
Frankfort. 


No. 59 


FRANCIS COTES, R.A. 


Baris 


MISS SOPHIA TEMPLE a8 


(On canvas) — Pe. ae cheese 


i te ee 304%, inches; wi th, 2 Yt 
eS | are 


lies on her lap. She wears an old-rose gown vay pea 
at the neck where a heart-shaped locket hangs from as 
narrow black ribbon; the sleeves are short and edged — me 
with three ruffles of white lace below the silk ruffles. i a 
Her dark brown hair is dressed in a high Pompadour; _ ; a 
a long gold earring shows in the right ear. The  ~— 


2 The 


expression of the brown eyes and bow-shaped lips is 
charming and the whole picture is pleasing and deco- 
rative in its pose and quiet color scheme. The back-— 
ground is a dark grayish-green. eco 


From the T. J. Blakeslee sale, New York, 1902. 


Francis Cotes was born in London in 1726 and died in 1770. 
He studied with Lord Knapton and was an admirable crayon 
artist as well as a painter in oil. He was one of the popular 
portrait painters of the day; was one of the founders of the 
Royal Academy and a member of the Incorporated Society of 
Artists. 


No. 60 


- RICHARD WILSON, R.A. 


Britis 


ITALY 


(On canvas) 


, Height, 255% inches; length, 36 inches: 
2. ig Ban TS 


A creat hill rising from the far side of a lake is su 
mounted by a castle that catches the glow of the late 
afternoon sun. Upon the shore, in the immediate fore- 


ground, some peasants are fishing and to the left is a 
group of trees. At the water’s edge is seen a ruined 
building. The picture has a mellow quality of tone, the 
briliant and luminous sky accentuating the shadow 
on the water and the dark foreground. 


From the T. J. Blakeslee sale, New York, 1902. 


Ricwargp Witson was born in Montgomeryshire, England, Au- 
gust 1, 1713. In 1729 he went to London and became a pupil 
of a portrait painter, Thomas Wright. When thirty-five years 
of age he went to Italy, where he met Zuccarelli and Vernet and 
turned from portrait to landscape painting. After some years 
he returned to London, and though favorably received he was 
never more than moderately successful; landscapes were not in 
demand, and notwithstanding that he was one of the original 
members of the Royal Academy, his pictures did not sell. In 
his later years all that kept him from starvation was a pittance 
that he received as librarian of the Royal Academy. He died in 
May, 1782. Wilson was one of the pioneers who opened up the 
way to present-day appreciation of the beauties of nature. His 
compositions were reminiscent of Italy, but what is individual 
is his treatment of light and air which permeate the whole and 
his treatment of color. 


7”, 7 i a = 
= e 
a. 
BAe a oe ’ 

f 


No. 61 


MAX WEYL 


AMERICAN 


APPLE BLOSSOMS 


(On canvas) 


oe 5 Uti Height, 20 inches; length,-30 inches. 


SrveRAL apple trees in full bloom are scattered across / 
the middle distance of the picture; there are pollard V 
willows at the right near a rustic fence beyond which 
is a field in bright sunlight. A low hill rises at the left. 


Signed at lower right: MAX WEYL. 


For biography see No. 53. 


LA We gt 


No. 62 
WALTER SHIRLAW, NAL 


Avcenrcaw . 


THE WATER LILIES: 


(On canvas) — 


er 7 Dea ae 201, inches; Lege sj 4 i 
An idyllic subject with a group of three nude female as 
figures on the grassy banks of a river, the surface of — Is 
which is partly covered with lily pads and blossoms. 
On the opposite shore is an expanse of green turf, and 
beyond, the silver streak of the river reappears wind-- af 
ing through the meadows and disappearing amid the ioe 
trees which frame the middle distance and appear in — 
silhouette against a gold and rose evening sky. These 
figures, all seen from the back, are finely drawn and. 
ably painted. The picture is poetic in feeling and dis- 
tinguished in color. A sheet of drawings owned by the 
Metropolitan Museum shows pencil studies for some of 
these figures. : | | 

Signed at lower ete; W. Shirlaw. 

From the collection of Willliam T. Evans, New York, 1900. 


Wa ter SuHiriaw was born in Paisley, Scotland, August 6, 1838, 
and died in Madrid, Spain, December 26, 1909. When he was 
three years old, the family came to New York; at the age of 
twelve he left the public schools and apprenticed himself to a 
bank-note engraving company. In 1870, having earned sufficient 
means, he started for Paris. On his arrival he found Paris under 


pte, gehen diaia 


_ siege by the German Army, so went to Munich, where he studied 
under Wagner, Romburg and Kaulbach. Upon returning to 
America he settled in New York. He was also an illustrator 
and designer, and his works show him to have been an artist of 
great versatility. He is represented in the Albright Gallery of 
Buffalo, the Herron Art Gallery of Indianapolis, the City Art 
Museum of St. Louis, The Art Institute of Chicago, the Lotos, 

_ Century and Salmagundi Clubs in New York, and by a series of 
mural decorations in the Congressional Library at Washington, 
D. C. Medals came to him from Munich, Philadelphia (Centen- 
nial), Atlanta, St. Louis, Chicago, and Honorable Mention from 
the Paris Salon. In 1888 he was elected a member of the Na- 
tional Academy of Design, was one of the founders and the 
first President of the Society of American Artists, a member 
of the American Water Color Society, the Etching Club, the 
Mural Painters, and many clubs of New York. 


7 


Height, 471, inchés; width, 33 inches. re 
A marpEen, draped below the bust in an ample mantle __ ae 


No. 68 


BENJAMIN WEST, PRA, 


AMERICAN-BrITIsSH 


INNOCENCE 


(On canvas) 


of thin white material, is seated on a grassy bank under 
low-growing boughs. She clasps to her bosom a 
fluttering white dove and inclines her head as though to 

quiet it, turning her large brown eyes toward the spec- 

tator. A blue and white scarf falls over her back and 

across her arms; her dark brown hair is confined by 

a double fillet of narrow red ribbon. A rich flood of 

light from the right strikes the figure, bringing it in 

strong contrast against the red and brown foliage 

behind it and the deep-toned sky and distant landscape 

at the left. There are traces of a second figure at the 

left which was doubtless painted out by the artist. 

This is one of the most attractive examples of the 

master. | 


From the T. J. Blakeslee sale, New York, 1904. 


BensamMIn West was born at Springfield in Chester County, 
Pennsylvania, October 10, 1738. He had a natural gift for 
drawing, and in his eighteenth year moved to Philadelphia and 
thence to New York, executing portraits. He visited Italy in 
1760, remaining about three years, and thence he went to Lon- 
don, where his reception was so encouraging that he sent for 


F 


by Ge Cs tate | es ..& ; < 


the lady to whom he was engaged, and settled down to spend 
nearly sixty years of his life there. In 1768 he was one of the 
four commissioned to draw up the plan for the Royal Academy, 
and in 1792, on the death of Sir Joshua Reynolds, he was elected 
president. In 1772 he was appointed historical painter to the 
King; he declined the honor of knighthood. He died in London, 
March 11, 1820, and was buried in St. Paul’s Cathedral. The 
large compositions of West are theatrical, but he knew the human 
form and painted it with academic skill and splendor of color. 
His great success in his day was due partly to his personality; 
his strongest influence came through his sympathy for the younger 
artists. West’s studio was the meeting place for all the American 
painters of the day. 


No. 64 


SIR HENRY RAEBURN 


BritisH (Scorcr) 


PORTRAIT OF NEIL GOW : 
| (On canvas) : eR ogee a 
| - Height, 36 inches; idth, 30% or) * pee a 
: aoe Gow, a Scottish eagle! we born — : - 
in 1727 and died in 1807. He is shown life-size, seated “g 
and drawing the bow over his beloved violin. The head 
is inclined and there is a dreamy look in the eyes. His 
dark brown hair, touched with gray, is parted in the 
middle; he has hazel eyes, dark eyebrows, a shaven 
face, sensitive mouth and double chin. He wears a dull 
blue coat and vest with gray buttons. The background 
is yellowed brown. There is splendid feeling for form 
in the modeling of the musician’s head, and rich color 
throughout. 


The nearly full-length portrait of Neil Gow in the Scottish - 
National Portrait Gallery at Edinburgh is the original from 
which Raeburn painted several replicas. One of these replicas 
Raeburn gave to Gow and, according to Armstrong, this par- 
ticular picture belonged in 1904 to Sir A. C. Mackensie of Edin- 
burgh, who exhibited it at the Loan Exhivition of Scottish 
National Portraits in 1884. The picture in the present sale comes 

_ from the Mackensie collection, but has been cut down; the 
trousers, which were originally plaid, have been painted brown 
and the whole relined. 


From the Ehrich Galleries, New York, 1908. 


Henry Ragespurn was born near Edinburgh, Scotland, in 1756, 
and at six years of age was left an orphan in charge of an elder 
brother. He spent the greater part of his life in Edinburgh, and 


id 


died there July 8, 1823. He was virtually self-taught but acquired 
a wonderful technique, and had the power of showing the char- 
acter of his subjects. He was the best painter in a technical 
sense of the British school. In the “square touch” of Raeburn 
one is frequently reminded of Velasquez and of Hals. The great 
genius of Raeburn has only been adequately appreciated in 
recent years, and his works are constantly rising in value. The 
two examples in the Morgan collection are considered the gems 
of the exhibition now at the Metropolitan Museum of Art. 


No. 65 


LOUIS GALLAIT | 


Betcian 


THE MENDICANTS  —— 
(On canvas) | i 


tc Height, 52 inches; wi [th, 40% inches. 
AFG a 


A LIFE-sIZED composition of an aged mendicant mtsi- _ 
cian with his dying boy companion. Seated on a 
boulder, the old man holds across his lap the emaciated — 
form of the boy, who rests his head against his pro- — 
_tector’s shoulder. A dog laps the nerveless hand of the — 
child, who still holds the bow. The right hand of the 
mendicant, held out for alms, rests on the dog’s Ss back. ie 
The figures are seen to below the knees, the heads sil- 
houetted against luminous clouds; a wild landscape i ig: oe 
suggested in the background. | 
_ This picture is illustrated in Edward Strahan’s “Art Treasures 5 ‘as i 
of America,” 1880, Volume II, page 71, as being in the collection 
of H. Victor Newcom of TL cuiaville: Ky.; Mr. Newcomb lent 
the canvas to the Metropolitan Museum of Art in New York, © 
where it was exhibited in 1882-83. The Wolfe Collection at the 
Metropolitan Museum contains a small canvas of a similar sub- 


ject,\ with slight variations, “The Minstrel Boy,” which is Sten 
and dated 1867. 


Signed on the rock at the right: Teves Gallait. 
From the collection of the Marquis of Salamanca. 


From the collection of H. Victor Newcomb, New York, 1903. 


Louis Gattarr was born at Tournay, Belgium, in 1810, and 
studied at the Academy in his native city under Hennequin; he 
continued his studies at the Antwerp Academy. One of his 


sere 


earliest works, “Christ Healing the Blind,” was bought by the 
city of Tournay and placed in the Cathedral where it now hangs. 
With the money obtained from this picture he was able to go to 


’ Paris, where he became a warm friend of Paul Delaroche. He 


soon became known as an historical painter and settled in 
Brussels, where he had a long and eminently successful career. 
His most important work, “The Abdication of Charles V,” is in 
the Brussels Museum. : 


No. 66 


MATHIEU LE NAIN 


FRENCH | Na 
A GROUP OF PEASANTS — 


(On canvas) 


Height, 44 inches; width, 3714 inches. 

aod ae Tn. “Gln darrainr 
Aw old man, holding a staff in both hands and with a — 

pilgrim’s water-bottle hanging from a cord about his 
waist, stands in the center of the picture. At the right 
is a young woman wearing a red dress, white kerchief 
and brown straw hat who has both hands on the old 
man’s shoulder, while a little boy, with dark brown hair 
and brown coat, clings to the pilgrim’s hand and 
clasps his staff. At the left an old woman in a red 
dress, with a basket on her arm, looks longingly at the 
principal figure, while this appealing look is repeated 
in the head of a dog which appears at the left in the 
immmediate foreground. The frame is hand carved. 


From the Eugene Fischhoff sale, New York, 1906. 


Maruiev LE Narn was the youngest of three brothers, who 
painted together. All were born at Laon, Aisne, France. An- 
toine, the second brother, became master in St. Germain-des- 
Prés and his brothers were his apprentices. Mathieu went to 
Paris in 1633 and Louis, the eldest, as well as Antoine soon 
followed, and the three brothers lived and worked together until 
1648, the year in which two died, Mathieu surviving them nearly 
thirty years. He was born in 1607 and died in 1677, and is best 
known as an historical and portrait painter. 


No. 67 
BARTHELEMY DE KARLOVSKY 
AT BAY 


re (On canvas) 
vi oe be Height, 22%, inches; width, 25% inches. A 
wie ¥ Ml fs 


In a sandy valley a man, in Oriental costume of blue 
and white, stands beside his dead horse, pistol in hand, 
and faces mounted officers who are seen galloping in 
the distance. His blanket and hat are on the road in 
the foreground. 


Signed at lower right hand: B. DE KARLOVSKY, 
PARIS. 


From the collection of Henry Kirkpatrick, New York, 1901. 


No. 68 
T. P. ROSSITER 


‘AMERICAN 


PORTRAIT OF A LADY 


(On canvas) 
Ap ee t« Oval: Height, 30 inches; Ne oS bee 
A apy in the costume of about 1850 Gage a 
dress with white sleeves and a red velvet bodice ie 
green skirt. She holds a fan and rests her right arm 
on a book that lies on a ledge in the immediate fore- 
ground. <A column forms the background at the right. 


This is the only picture by Rossiter that has come up 
at auction in the past fifteen years. 


Signed at bottom: T. P. ROSSITER. 
From the collection of James McCormick, New York, 1904. 


Txomas P. Rosstrer was born in New Haven, Conn., September 
29, 1818, and studied art in that city with Nathaniel Jocelyn. 
He went to Europe in 1840 with Durand Casilear and Kensett, 
and after a year and a half in London and Paris, went with 
Cole to Rome, where he spent five winters. On his return to 
New York he took a studio and painted a number of portraits 
and several large compositions. In 1853 he went to Paris again 
for three years, where he won a gold medal at the 1855 Exposi- 
tion. His painting is facile and was very popular in his day. He 
was elected a member of the National Academy of Design in 
1849, In 1856 he returned to New York and in 1860 he built a 
home and studio at Cold-Spring-on-Hudson, where he died May 
17, 1871. 


AMERICAN ART ASSOCIATION, 


Managers. 
Tuomas E. Kirsy, 


Auctioneer. 


ARTISTS REPRESENTED 


BACON, HENRY: American; born 1839; died 1912. 


6—Tue MEssenceER. 


BASTERT, NICOLAAS: Dutch; born 1854. 


4—A Winter EVENING. 


BLAKELOCK, RALPH ALBERT: American; born 
1847. 


%—Inpian Buriat Priace, Cotorapo. 


BLOMMERS, BERNARDUS JOHANNES: Dutch; 
born 1845. 


50—Returnine Home. 


BONINGTON, RICHARD PARKES: British; born 
1801; died 1828. 


34—MaRINE. 


BOUGHTON, GEORGE H.: British-American; born 
1834; died 1905. 
3—W oMAN IN Gray. 
18—An Anxious Moment. 
54—WINTER. 


BOUGUEREAU, WILLIAM ADOLPHE: French; 
born 1825; died 1905. 


1— ASLEEP. 


BROUWER, “ADRIAEN: Filah born | : 
died 1638. (Attributed) a 


99_In THE Tavern. eke 7 


1849. 
36—T He Page Ree 


| ane Sak eee 
COTES, FRANCIS: British; born 1726; di 1 


59—Miss SopHta TEMPLE. 


CROME, JOHN: British; ye 1768; died 1821. 


52—-LANDSCAPE. 


DECAMPS, A. G.: French; born 1803; died 1860. 


Q99—MARINE. . hag ‘i = . 


DELPY, CAMILLE HIPPOLYTE: French; born 
1841; died 1910. ia vege 


80-1 pseen 


DE TROY, JEAN FRANCOIS: French; born 1679; 
died 1752. 


56—NIcOLAS DE CATINAT., 


DEWEY, CHARLES MELVILLE: American; born 
1851. 


37 Twice. 


DUPRE, JULES: French; born 1812; died 1889. 


28—THE CorTTaGeE. 


DUTCH SCHOOL. 


45—Woman CurTTING CABBAGES. 


EATON, CHARLES WARREN: American; born 
1857. 


14—A CounTRyY Roap. 


FABRITIUS, KAREL: Dutch; born 1624; died 1654. 


58—Tuer ADVOCATE. 


FORTUNY, MARIANO: Spanish; born 1838; died 
1874. 


Q2—PastTEL. 


GALLAIT, LOUIS: Belgian; born 1810; died 1887. 


 65—THE MENDICANTS. 


INNESS, GEORGE: American; born 1825; died 1894. 


17—NEaAR MeprFiexp. 


IRVING, J. BEAUFAIN: American; born 1826; died 
1877. 


35—AT THE CONFESSIONAL. 


JACQUE, CHARLES EMILE: French: 
died 1894. 


48—THeE CiLose or Day. , 
49—E\VENTIDE. . | eas 


KARLOVSKY, BARTHELEMY DE. 
67—AT Bay. 


LE NAIN, MATHIEU, French; 
1677. 


66—A Group or Peasants. 


LEROLLE, HENRI: French; born 1851. 


47%—Rest ror THE WEarRY. 


MADRAZO, RAIMUNDO DE: Spats born 1841, 


12—A GurtTaR PLAYER. 
25—Tue Broxen PItrcHer. 


MARATTA, CARLO: Italian; born 1625; died 1713. 


20—PorrTrait oF THE ARTIST’s DAUGHTER. 


MARIS, JAMES: Dutch; born 1837; died 1899. 


94—LanpscaAPE—MOoon.LiGcHT. 


MARTIN, HOMER D.: American; born 1836; asa 
1897. 


16—LanpscaPE: RoapsipE NEAR HonFLEUR. 


MICHEL, GEORGES: French; born 1763; died 1843. 
| 46—MarIneE. 


MIERIS, W.: Dutch; born 1662; died 1747. 


_ 44—Lapy at HER TOoILet. 


MILLER, OSCAR: American; born 1867. 
13—NvDE. 


MINOR, ROBERT C.: American; born 1840; died 
1904. 


40—Nerar THE Wicwams, WaTERFORD, Con- 
NECTICUT 


~ MORLAND, GEORGE: British; born 1763; died 1804. 


5—SHEPHERDS AND SHEEP. 
382—SMUGGLERS IN THE IsLE or WIGHT. 


MOSTAERT: Dutch; sixteenth century. (Attrib- 
uted.) 


42—-ADORATION OF THE KINGs. 


MURPHY, J. FRANCIS: American; born 1853. 


15—An AvTUMN SUNSET. 


NEEFS, PETER: Flemish; born 1578 (?) ; died 1656. 


43—INTERIOR OF CATHEDRAL, 


NEER, ‘EGLON VAN DER: Duteh; hi born | 
1703. | 


293A Hermit at HIS Supa. 


‘OPIE, JOHN: British; born 1761; ied a 180 


51—Heap oF a Girt. 


PALMER, R. 


Q—LANDSCAPE, VERS a 


PELOUSE, LEON GERMAIN: French; born 1838; 
died 1891. 


55—LANDSCAPE. 


PEPPERCORN, A. D.: British; contemporary. 
33—A Gray Day 


RAEBURN, Sir HENRY: British (Scotch) ; born | ‘ 
1756; died 1823. - 


64—Porrtrair oF NEIL Gow. 


ROBBE, LOUIS: Belgian; born 1807; died 1887. 


31—SHEEP AND DONKEY. 


ROBINSON, THEODORE: American; born 1852; 
died 1896. 


19—GirL witH PUPPIES. 


ROELOFS, WILLEM: Dutch; born 1822; died 1897. 
24—A Dutcu Canat. 


ROOS, J. MELCHIOR: German; born 1659; died 
1781. 


91—A MovunrtTa1n Pass. 


ROSSITER, THOMAS P.: American; born 1813; 
1871. | 


68—Porrrait or a Lapy. 


SCHMIDT, E. A. 


10—HeEap orf a Man. 


SHIRLAW, WALTER: American; born 1838; died 
1909. 
62—Tue Water Lies. © 


2 SMILLIE, GEORGE H.: American; born 1840. 


41—Near THE Beacu, East Guovucester. 


TERBORCH, GERARD: Dutch; born 1617; died 
1681. 


57—Porrrait or A SCHOLAR. 


THAYER, ABBOTT H.: American; born 1849. 
38—A Prize Butu. 


TIFFANY, LOUIS C.: American; born 1848. 


8—TuHeEr Water Gate aT MALTA. 


a) bet » oe 


VEYRASSAT, JULES J.: French; born 1828; died 
1892. 


11—THrE CATHEDRAL, 


WEST, BENJAMIN: American-British; born 1738; — 
died 1820. 


63—INNOCENCE. 


WEYL, MAX: American ; born 1853. 


53—LANDSCAPE. 
61—ArrLE Buossoms. 


WILLIAMS, F. BALLARD: American; born 1871. 
39—Tur ENCAMPMENT; VALLEY OF THE 
Passaic, 


WILSON, RICHARD: British; born 1713; died 1782. 


60—Iraty. 


ZIEM, FELIX: French; born 1821; died 1911. 


296—SuNsET—STAMBOUL. 


“y 


GETTY RESEARCH INSTITUTE 


fi AUT i 


it, ‘ 
ue 
a St 


LONE 

it 
men hy 
SSA: 
oe: 


Unen eats 
SAH 


sf 
ASAE 


Neva) 
Wnts 
Nhe 
ag 4 


* 


is 
as 4 . 

hn nt Hi 
er) Rnriaiat 


4x na wx 
? eae 

at FS fi i 
eee ‘ wy Sie 


i Ae ‘ 
Mobis Wy 
Sine 


a 


aes 

=. Ls 

FEES 
fee 


Gets 
SST Rs 


oieseieees 
eer 


y 4 ay 

Ta a 
Weapaet tic 
4 


SS 
= se 


> — 
mae ee 


itt 
2 


ai 


ay 4 ih 
te 
4 


ret} 


i) iy 


ih 


hE 


Wiss 


any 


ipa 


Hine 
xy 


as vase is 


\ 


ean 
NN 
Ai Phe 
cheat 
bles a 

hen te 


it) 
Pink 
a 


sa vi 4 \ 

De eer Oe had 

he ieee, mn 
Ran YK 
Ait Ward 

y a ‘] 1 ie 


‘y PAA Aa 
Ki mia 


ron 


WaGdi* 
gh ot 
Mae) 


Hind 
RAS ALONG EL 
ius iad 


Mes ts Ue 
a! 4 +n) 


